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登録情報
- アスペクト比 : 1.78:1
- Is Discontinued By Manufacturer : いいえ
- 言語 : 日本語
- 製品サイズ : 25 x 2.2 x 18 cm; 168 g
- EAN : 4934569620576
- 監督 : 是枝裕和
- メディア形式 : 色, ドルビー, ワイドスクリーン
- 時間 : 3 時間 2 分
- 発売日 : 2005/3/11
- 出演 : 柳楽優弥, 北浦愛, 木村飛影, 清水萌々子, 韓英恵
- 字幕: : 日本語, 英語
- 販売元 : バンダイビジュアル
- ASIN : B0002PPXQY
- ディスク枚数 : 1
-
Amazon 売れ筋ランキング:
- 17,717位DVD (の売れ筋ランキングを見るDVD)
- - 803位日本のドラマ映画
- カスタマーレビュー:
商品の説明
内容紹介
『奇跡（2011年6月全国ロードショー）』の是枝裕和監督作品。
2004年カンヌ国際映画祭での主演・柳楽優弥の“日本人初”、“史上最年少”最優秀主演男優賞獲得にはじまり、
キネマ旬報やフランダース国際映画祭において最優秀作品賞を獲得するなど、国内外の映画祭で、この年もっとも
高い評価を得た、伝説の日本映画。
――生きているのは、おとなだけですか。
○内容
都内の２ＤＫのアパートで大好きな母親と幸せに暮らす４人の兄妹。
しかし彼らの父親はみな別々で、学校にも通ったことがなく、３人の妹弟の存在は大家にも知らされていなかった。
ある日、母親はわずかな現金と短いメモを残し、兄に妹弟の世話を託して家を出る。
この日から、誰にも知られることのない４人の子供たちだけの『漂流生活』が始まる……。
○毎回封入特典
1.特典ディスク
・是枝裕和監督インタビュー（メイキング、カンヌ、初日舞台挨拶を含む）
・劇場予告
・TVスポット
・「宝石」（劇中挿入歌）ミュージッククリップ
・是枝裕和監督撮影のスチール写真集
・スタッフプロフィール
2.演出ノート
○キャスト
柳楽優弥／北浦 愛／木村飛影／清水萌々子／韓英恵／ＹＯＵ／串田和美／岡元夕紀子／平泉 成／加瀬 亮
タテタカコ／木村祐一／遠藤憲一／寺島進 他
○スタッフ
ゼネラルプロデューサー：重延浩、川城和実／企画：安田匡裕／企画協力：小林栄太朗、李 鳳宇
監督・脚本・編集・プロデュース：是枝裕和／撮影：山崎裕／録音：弦巻裕／美術：礒見俊裕、三ツ松けいこ／音楽：ゴンチチ
挿入歌：「宝石」タテタカコ／スチール：川内倫子／制作プロダクション：テレビマンユニオン／配給：シネカノン、芸術文化振興基金
製作：テレビマンユニオン、バンダイビジュアル、エンジンフィルム、シィー・スタイル、シネカノン 他
Amazonレビュー
『ワンダフルライフ』『ディスタンス』の是枝裕和による、劇場用長編第4作。1988年に東京で実際に起きた「子ども置き去り事件」をモチーフにし、母親に置き去りにされた4人の子どもたちが、彼らだけの生活を続ける約1年を描いている。撮影にも1年以上をかけた入魂の一作だ。
撮影時、子どもたちに台本は渡されず、監督のその場の指示で演技させたという。そんな独特の演出スタイルによって生み出された、生々しくもみずみずしい空気感が素晴らしい。彼らの感情が、頭を介してではなく心に直に入ってくるような不思議な感覚を覚える。そんなセミ・ドキュメンタリー的手法の一方でドラマとしての求心力を失うことがないあたりも監督の力量を感じるところだ。
カンヌ映画祭において、最優秀男優賞を史上最年少で受賞した柳楽優弥をはじめ、子どもたち全員の存在感が白眉。母親を演じたYOUら大人のキャストも見事にその世界に寄り添っている。（安川正吾）
内容（「キネマ旬報社」データベースより）
是枝裕和監督最新作、柳楽優弥がカンヌ国際映画祭で主演男優賞を受賞した話題作。都内のアパートへ越して来た母親と4人の兄妹たち。貧しくも楽しい生活が始まるはずだった。しかしそんなある日、母親は短いメモとお金だけを残して家を出てしまう。
内容（「Oricon」データベースより）
母子家庭の4人の子供たち。それぞれ別々の父親を持つ子供たちは、学校に通ったこともなかったが、それなりに幸せな毎日を過ごしていた。しかしある朝、20万円の現金を残して、母が失踪する。この日から、誰にも知られることのない4人の子供たちの生活が始まり…。是枝裕和監督が実際に起きた「巣鴨子供置き去り事件」をモチーフに映画化した作品。出演は柳楽優弥、YOUほか。
レビュー
プロデューサー・監督・脚本・編集: 是枝裕和 撮影: 山崎裕 音楽: ゴンチチ 出演: 柳楽優弥/北浦愛/木村飛影/清水萌々子/韓英恵/YOU/串田和美/岡元夕紀子/平泉成/加瀬亮/タテタカコ/木村祐一/遠藤憲一/寺島進
-- 内容（「CDジャーナル」データベースより）
この商品を買った人はこんな商品も買っています
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カスタマーレビュー
5つ星のうち4.4
星5つ中の4.4
298 件のグローバル評価
評価はどのように計算されますか?
全体的な星の評価と星ごとの割合の内訳を計算するために、単純な平均は使用されません。その代わり、レビューの日時がどれだけ新しいかや、レビューアーがAmazonで商品を購入したかどうかなどが考慮されます。また、レビューを分析して信頼性が検証されます。
トップレビュー
上位レビュー、対象国： 日本
レビューのフィルタリング中に問題が発生しました。後でもう一度試してください。
2005年3月14日に日本でレビュー済み
Amazonで購入
劇中で「トトロが実際にいたら...」というセリフがあったが、この作品はトトロと併映された「火垂るの墓」に近い。自分も4人兄弟で母一人に育てられたこともあり、さまざまな想いが巡った。小学校に上がる前、帰りの遅い母を待って、月の明るい夜に感じた寂しさを思い出した。
実際にあった事件を元にした問題作(?)。カンヌで最年少受賞したという話題性だけで見ようするなら、ちょっと覚悟した方がいいかもしれない。見るのがつらいと感じる人もいるかもしれない。母の帰りを無表情に待つ子供たち、永遠に続くと思われる静粛な時間が過ぎていく。特に母の帰りを待って半年近くたった頃の姿は悲惨だ。
韓英恵の存在だけが救いな気がする。同級生からいじめに遭う彼女だが、その清楚な美しさが際立っている。また彼女が子供たちの救いとして重要な役を演じている。この映画は北浦愛の長女が「お兄ちゃん風邪ひいたの？声気持ち悪い」というセリフからもわかるように、お兄ちゃんを演じる柳楽優弥の成長の記録でもある。最初の頃からは雰囲気が微妙に変わった気がする。
泣ける作品だが、見ている間は重苦しさに圧倒されてほとんど泣けなかった。見終わった後で、起き抜けで布団を囲んで家族全員で笑っていたシーンや桜の季節に子供たちが公園で楽しそうに遊ぶシーンが思い出され、そして子供たちのその後を考えたときに涙があふれた。
実際にあった事件を元にした問題作(?)。カンヌで最年少受賞したという話題性だけで見ようするなら、ちょっと覚悟した方がいいかもしれない。見るのがつらいと感じる人もいるかもしれない。母の帰りを無表情に待つ子供たち、永遠に続くと思われる静粛な時間が過ぎていく。特に母の帰りを待って半年近くたった頃の姿は悲惨だ。
韓英恵の存在だけが救いな気がする。同級生からいじめに遭う彼女だが、その清楚な美しさが際立っている。また彼女が子供たちの救いとして重要な役を演じている。この映画は北浦愛の長女が「お兄ちゃん風邪ひいたの？声気持ち悪い」というセリフからもわかるように、お兄ちゃんを演じる柳楽優弥の成長の記録でもある。最初の頃からは雰囲気が微妙に変わった気がする。
泣ける作品だが、見ている間は重苦しさに圧倒されてほとんど泣けなかった。見終わった後で、起き抜けで布団を囲んで家族全員で笑っていたシーンや桜の季節に子供たちが公園で楽しそうに遊ぶシーンが思い出され、そして子供たちのその後を考えたときに涙があふれた。
2014年10月27日に日本でレビュー済み
Amazonで購入
レビュー数が多いのでＤＶＤを買って観てみた。
かなり衝撃的な作品である。現実に起きた「巣鴨
置き去り事件」をモチーフにしているからであるが、
実際はもっと悲惨だったようだ。
しかし、監督のたくましい想像力がノンフィクション
作品として生まれ、「誰も知らない」でいいのかと
社会に問ているのでありましょう。
それぞれ５人の子供という素材が実に作品を美しく輝かせ
ている。どの子もみんな可愛いし、子供のパワーって凄い
なあと思う。
最初から蓄積されてゆくフラストレーションが最後まで解
消されることがないのが、何とも救いようのないものに感
じてしまう。
元の事件があまりにも悲惨な事件だっただけに、このよう
なラストに為らざるをえなかったのであろうか。
かなり衝撃的な作品である。現実に起きた「巣鴨
置き去り事件」をモチーフにしているからであるが、
実際はもっと悲惨だったようだ。
しかし、監督のたくましい想像力がノンフィクション
作品として生まれ、「誰も知らない」でいいのかと
社会に問ているのでありましょう。
それぞれ５人の子供という素材が実に作品を美しく輝かせ
ている。どの子もみんな可愛いし、子供のパワーって凄い
なあと思う。
最初から蓄積されてゆくフラストレーションが最後まで解
消されることがないのが、何とも救いようのないものに感
じてしまう。
元の事件があまりにも悲惨な事件だっただけに、このよう
なラストに為らざるをえなかったのであろうか。
VINEメンバー
Amazonで購入
戦争で親を亡くした子供たちは似たような生活を余儀なくされた筈です。
日本もつい60年前、そして今はイラクやアフガニスタンでも。
戦争がなくても、ストリートチルドレンなる言葉があります。
戸籍もなく、学校にも通えない子供たち。
父親が違う(らしい)四人の幼い兄弟を中心に物語は描かれています。
母親の家出で、俄に家長になる少年。
彼は母親が掴みかけているささやかな幸せと引き換えに、自ら苦労を背負いました。
不幸な母親と共に育ちましたから、母を責める事が出来なかったのです。
確かに大人から見れば、もっと他の選択肢もあったでしょう。
でも彼は学校にすら通っていないのです。
先輩レビュワーのどなたかが書いておられたように、
幼い我が子をきゅっと抱きしめたくなりました。
日本もつい60年前、そして今はイラクやアフガニスタンでも。
戦争がなくても、ストリートチルドレンなる言葉があります。
戸籍もなく、学校にも通えない子供たち。
父親が違う(らしい)四人の幼い兄弟を中心に物語は描かれています。
母親の家出で、俄に家長になる少年。
彼は母親が掴みかけているささやかな幸せと引き換えに、自ら苦労を背負いました。
不幸な母親と共に育ちましたから、母を責める事が出来なかったのです。
確かに大人から見れば、もっと他の選択肢もあったでしょう。
でも彼は学校にすら通っていないのです。
先輩レビュワーのどなたかが書いておられたように、
幼い我が子をきゅっと抱きしめたくなりました。
他の国からのトップレビュー
D J Jackson: Passionate about Film.
5つ星のうち5.0
KORE-EDA’S SHOCKING BUT COMPELLING & MOVING MASTERPIECE.
2020年11月22日に英国でレビュー済みAmazonで購入
This is a review of the May 2005 Region 2 DVD from ICA Projects. Despite appearances, this is a good quality DVD, which plays with excellent English subtitles. There is also an insert, containing a fascinating and touching short essay on the background to this film, by the director Hirokazu Kore-eda.
We first discovered the films of Japan’s new Master of cinema Hirokazu Kore-eda, back in January 2020, with his warm, thoughtful and magical ‘Our Little Sister’(2015). Since then, we have been munching our way through his work, though it is not always as easy to obtain on disc as other Japanese masters such as Kurosawa and Ozu. Ozu, with his tightly-focussed family dramas and sociological comment, has been suggested as a model for Kore-eda. Kore-eda himself draws a closer parallel with British director Ken Loach ~ his socially-aware style and treatment of major social issues, including poverty and homelessness.
Never was that resemblance more evident than in this stunning film from 2004. It was essentially a passion project for Kore-eda, based on a screenplay he originally wrote 15 years before, in the wake of a real-life Japanese cause célèbre. That involved a family of children, each with a different father, who had been abandoned by their mother, as she went to live with her newest boyfriend. They had survived on occasional envelopes of money from her, for over 8 months. Kore-eda had been deeply affected by the story, and wrote his screenplay as a message of support and sympathy to the oldest of the children, a young teenaged boy, who had been the carer for the family.
His film had remained unmade for 15 years, but with a script updated to the 2000s, he began filming in late 2002. Filming, lasting the 9 month duration of the story, was largely in a confined Tokyo apartment, rented and fitted out for the film. The cast is small, with mother and a few smaller parts played by adults, but most of the roles played by children: the 4 family members, two teenaged male friends and one teenaged girl. The performances, no doubt developed in part through the clear trust gained from them by Kore-eda, are quite miraculous. We may see one or two good child actors in a film, but 7! Of whom 4 carry the weight of the narrative, for a 140 minute film! Totally remarkable! Our feeling at the end was that we were quite drained, because we had been right there, in that oppressive, claustrophobic apartment, with those children, the entire time. It is no surprise that 12 year-old Yuya Yagira, who played Akira, the older boy, became the youngest-ever winner of the Cannes Film Festival’s award for Best Actor.
This film is a tough watch. Pink and fluffy, it is not. But the story is totally gripping, despite it’s narrow geographical framing, and the performances are sensational and very moving. And remember, the story is essentially true. 5 utterly compelling Stars.
We first discovered the films of Japan’s new Master of cinema Hirokazu Kore-eda, back in January 2020, with his warm, thoughtful and magical ‘Our Little Sister’(2015). Since then, we have been munching our way through his work, though it is not always as easy to obtain on disc as other Japanese masters such as Kurosawa and Ozu. Ozu, with his tightly-focussed family dramas and sociological comment, has been suggested as a model for Kore-eda. Kore-eda himself draws a closer parallel with British director Ken Loach ~ his socially-aware style and treatment of major social issues, including poverty and homelessness.
Never was that resemblance more evident than in this stunning film from 2004. It was essentially a passion project for Kore-eda, based on a screenplay he originally wrote 15 years before, in the wake of a real-life Japanese cause célèbre. That involved a family of children, each with a different father, who had been abandoned by their mother, as she went to live with her newest boyfriend. They had survived on occasional envelopes of money from her, for over 8 months. Kore-eda had been deeply affected by the story, and wrote his screenplay as a message of support and sympathy to the oldest of the children, a young teenaged boy, who had been the carer for the family.
His film had remained unmade for 15 years, but with a script updated to the 2000s, he began filming in late 2002. Filming, lasting the 9 month duration of the story, was largely in a confined Tokyo apartment, rented and fitted out for the film. The cast is small, with mother and a few smaller parts played by adults, but most of the roles played by children: the 4 family members, two teenaged male friends and one teenaged girl. The performances, no doubt developed in part through the clear trust gained from them by Kore-eda, are quite miraculous. We may see one or two good child actors in a film, but 7! Of whom 4 carry the weight of the narrative, for a 140 minute film! Totally remarkable! Our feeling at the end was that we were quite drained, because we had been right there, in that oppressive, claustrophobic apartment, with those children, the entire time. It is no surprise that 12 year-old Yuya Yagira, who played Akira, the older boy, became the youngest-ever winner of the Cannes Film Festival’s award for Best Actor.
This film is a tough watch. Pink and fluffy, it is not. But the story is totally gripping, despite it’s narrow geographical framing, and the performances are sensational and very moving. And remember, the story is essentially true. 5 utterly compelling Stars.
Keith M
5つ星のうち5.0
A Broken Society
2017年7月19日に英国でレビュー済みAmazonで購入
Japanese writer-director Hirokazu Koreeda’s 2004 film is a remarkable piece of work for a number of reasons. Not only is the film’s tale of child abandonment based, sadly, on a real-life case, but Koreeda again demonstrates his (seemingly) unparalleled talent for coaxing naturalistic and totally convincing performances from first-time child actors. Having read a little about Koreeda’s approach here – namely allowing his young cast to spend a good deal of time together in order to build trust and rapport, before shooting the film over an extended period of over a year – it called to my mind the film-making approach of Mike Leigh, whereby Leigh works in advance with his cast to develop full backstories for their characters. Of course, Koreeda is not working with experienced actors à la Leigh, making the resultant seamless whole of Nobody Knows, in which Koreeda’s young cast are frequently improvising, all the more amazing. The other notable quality of Koreeda’s film-making is its subtlety. This is a long film – around 140 minutes – and Koreeda develops his slow-build drama, maintaining a level of subtlety throughout – a subtlety that is almost too dispassionate at times, given the desperate circumstances his characters find themselves in.
The look and feel of Nobody Knows points to Koreeda’s background in documentary making, which adds to the film’s sense of authenticity and, ultimately, power. His cast are uniformly excellent, particularly Yuya Yagira’s 12-year old, Akira, (the eldest of the abandoned quartet), but no doubt much of the credit for Yagira’s impressive turn should probably go to Koreeda, for his coaching. The actress You, as the quartet’s irresponsible, and increasingly absent, mother, Keiko, also delivers a flawless turn for what is (obviously) an infuriating character. Despite the film’s predominantly despairing theme, however, Koreeda does not paint an entirely bleak picture of humanity in modern day Japan. As Akira & co.’s plight becomes increasingly desperate, initially suspicious shop-workers step up to display their humanity and Koreeda’s depiction of innocent, ebullient childhood is frequently uplifting (Akira’s stint on the baseball field being a highlight), even if the contrast ultimately increases the sense of tragedy in the children’s plight. Stylistically, Koreeda’s approach to storytelling is relatively simple, although he gives us some nice symbolism to reinforce the latent emotion (e.g. contemplative shots of a washing machine and a nail varnish stain cleaned up by the mother, plus the ultimately tragic suitcase). The naming of the film’s 'hero’ (Akira) and the glimpse of the name ‘Mizoguchi’ may also constitute deliberate cinematic references (homages) from Koreeda.
I would not, however, regard Nobody Knows as entirely flawless. The film’s running time could probably be pruned by around 20 or so minutes and, as viewers of the film, we might question some of Koreeda’s plot points, particularly the fact that no-one reports the children’s plight to the authorities. Even though, via this latter point, Koreeda is effectively giving us a 'worst case scenario’, it can be answered by the film-maker having kept true to the original real-life events. On balance, therefore, given the film’s notable strengths, particularly that of Koreeda’s remarkable handling of his cast, I err on the side of a top rating.
The look and feel of Nobody Knows points to Koreeda’s background in documentary making, which adds to the film’s sense of authenticity and, ultimately, power. His cast are uniformly excellent, particularly Yuya Yagira’s 12-year old, Akira, (the eldest of the abandoned quartet), but no doubt much of the credit for Yagira’s impressive turn should probably go to Koreeda, for his coaching. The actress You, as the quartet’s irresponsible, and increasingly absent, mother, Keiko, also delivers a flawless turn for what is (obviously) an infuriating character. Despite the film’s predominantly despairing theme, however, Koreeda does not paint an entirely bleak picture of humanity in modern day Japan. As Akira & co.’s plight becomes increasingly desperate, initially suspicious shop-workers step up to display their humanity and Koreeda’s depiction of innocent, ebullient childhood is frequently uplifting (Akira’s stint on the baseball field being a highlight), even if the contrast ultimately increases the sense of tragedy in the children’s plight. Stylistically, Koreeda’s approach to storytelling is relatively simple, although he gives us some nice symbolism to reinforce the latent emotion (e.g. contemplative shots of a washing machine and a nail varnish stain cleaned up by the mother, plus the ultimately tragic suitcase). The naming of the film’s 'hero’ (Akira) and the glimpse of the name ‘Mizoguchi’ may also constitute deliberate cinematic references (homages) from Koreeda.
I would not, however, regard Nobody Knows as entirely flawless. The film’s running time could probably be pruned by around 20 or so minutes and, as viewers of the film, we might question some of Koreeda’s plot points, particularly the fact that no-one reports the children’s plight to the authorities. Even though, via this latter point, Koreeda is effectively giving us a 'worst case scenario’, it can be answered by the film-maker having kept true to the original real-life events. On balance, therefore, given the film’s notable strengths, particularly that of Koreeda’s remarkable handling of his cast, I err on the side of a top rating.
Film Buff
5つ星のうち4.0
Too close to home for comfort
2014年1月10日に英国でレビュー済みAmazonで購入
Kore-eda Hirokazu is one of the best Japanese directors working today. Initially a documentarist, he started off making films for TV about everyday problems in Japanese society, concerns which have carried over into his subsequent ‘fictional’ feature films. Distance (2001) was his response to the 1995 sarin gas subway attack by the sinister organization Aum Shinrikyo while Still Walking (2008) and I Wish (2011) were concerned with the broken nature of family lives in modern day Japan. Last year’s Like Father Like Son (2013) could have been ripped straight from newspaper headlines, focusing as it does on the case of a man who was mistakenly switched with another baby by a mid-wife soon after his birth and whose future was radically altered. This actually happened in Japan in a separate unrelated case and only a couple of months ago the victim was awarded a lump sum in damages from the government as compensation. The film under review here, Nobody Knows (2004) is another news headline written large, based as it is on the real story of a family of children abandoned by their mother in Sugamo Ward, Tokyo in 1988. Kore-eda has been careful to publically distance his film from the real life case, especially as the real story is more gruesome than what he puts in front of us here. Nevertheless, he did shoot the film in real time over a complete year, renting out an apartment (in which production staff of the film actually lived) and deploying documentary-style techniques to get as close as possible to the reality of what happens to a group of children when they are abandoned for 9 months. Hand-held camerawork combines with fly-on-the-wall observation of improvised performances from his cast of young actors to paint an extremely realistic picture. Resident in Japan (actually not far from Tokyo) and father of two elementary school kids, I was deeply shaken by this film. If we abandoned our kids I would say that what Kore-eda depicts would definitely happen. As such, I found it all just a little bit too close to home for comfort.
The film opens with a mother Fukushima Keiko (You) and her 12 year old son Akira (Yagiri Yūya) moving into their new Tokyo apartment. Out of two heavy suitcases roll two more kids, the youngest son Shigeru (Kimura Hiei) and youngest daughter Yuki (Shimizu Momoko). A little later the oldest daughter Kyoko (Kitaura Ayu) arrives having been picked up at the nearest rail station by Akira. It transpires that the kids all have different fathers and that their births have not been registered with the authorities. To protect themselves from prying neighbors only Akira is allowed out of the apartment, the other three having to stay quiet and hide. The mother knows that if the authorities find out about them, the kids will be split up possibly forever. Initially she seems well intentioned, but she is young and flighty. She gets a job as a bar hostess and leaves her kids for increasingly long periods of time. One day she says goodbye and gives Akira 50,000 yen (about 250 pounds), saying she will be back for Christmas. She never returns. Eventually Akira traces her to working for a company under a new family name. He realizes she has re-married and has abandoned them. Most of the film is devoted to charting how the kids respond to their plight. At first Akira tries heroically to be the father, shopping, cooking, cleaning, instigating rules and delegating responsibilities. But as the money runs out, the food disappears and the utilities get cut off, the children revert inwards to find their baser animal instincts. I won’t describe what happens thereafter as it would spoil it for you, but rest assured what happens is heart-breaking to the extreme.
If you have read this far, you might think Nobody Knows is an extremely depressing film. Fear not, for this film is no Lord of the Flies. By focusing on the positive qualities of the kids and their untapped potential for enjoying life and seizing the day with their unquenchable optimism, Kore-eda carves out a hugely positive celebration of the minutiae of everyday life which you and I take for granted. Never has an ice cream tasted so good and never has a simple trip to the local park been so liberating. At the same time the director focuses on what the kids need but cannot have to moving effect. Akira wants to go to school and craves friendship with his peers, and in the course of the film he achieves both albeit only in part. Then there is Kyoko who (because her father is a musician) wants to own and play her own piano, but has to make do with a plastic toy. As a father who sometimes has to force his kids to practice before their (very expensive!) piano lessons, my first reaction was to think about showing them this film to make them appreciate more the opportunities they have. Make no mistake this is one of those films which makes you feel lucky to be alive and lucky to be surrounded by your loved ones. In Hollywood hands it would be mired in mushy sentimentality, but Kore-eda’s stoicism and refusal to pander to the feel-good brigade pays off in spades. His approach is simple, subtle and profoundly revealing of the emotions that lay within the hearts of his young cast.
The film’s greatest achievement rests on the effortlessly superb acting of the kids. Kore-eda has a way with youngsters and here he teases out astonishing performances, especially Yagiri Yūya who deservedly took home the best actor prize from Cannes that year. It is perhaps mistaken to talk about ‘performances’ here as when we look at these kids we just believe they are who they are – there are no performances involved. They simply inhabit their roles with astonishing reality. Combined with Kore-eda’s documentary approach this makes for a film of extraordinarily tangible emotional power.
I was tempted to give 5 stars, but I have two slight criticisms. In the first place, at 140 minutes the film is a long haul which seems even longer because of the slow pace of the narrative. I have no problem with slow narratives, but as vital as the performances are and as sensitive as Kore-eda’s treatment is, there is simply not enough here to sustain the running time. Scenes become repetitive and one suspects a good 20 minutes could easily have been shorn without harming the film’s narrative structure. Secondly, I have a problem with the film’s ending. I can’t be specific here without giving the game away, but the whiff of artificial melodrama doesn’t sit with the natural treatment of everything that precedes it. I’m probably being a little harsh here, because on balance this is still a superior film that warrants close attention.
I have no gripes with the quality of this ICA Projects DVD. It is a bare-bones product with no extras at all, not even the booklet that some reviews posted here have suggested comes with it. However, the picture and sound are both top quality with English subtitles properly letter-boxed and highly legible. I notice that this film is also being offered in a cheap box set together with Still Walking, After Life (1998) and Air Doll (2009). That would be the best way to buy it as the other 3 films are all excellent. For those unsure about Kore-eda this cheap single disc release remains a highly recommendable taster.
The film opens with a mother Fukushima Keiko (You) and her 12 year old son Akira (Yagiri Yūya) moving into their new Tokyo apartment. Out of two heavy suitcases roll two more kids, the youngest son Shigeru (Kimura Hiei) and youngest daughter Yuki (Shimizu Momoko). A little later the oldest daughter Kyoko (Kitaura Ayu) arrives having been picked up at the nearest rail station by Akira. It transpires that the kids all have different fathers and that their births have not been registered with the authorities. To protect themselves from prying neighbors only Akira is allowed out of the apartment, the other three having to stay quiet and hide. The mother knows that if the authorities find out about them, the kids will be split up possibly forever. Initially she seems well intentioned, but she is young and flighty. She gets a job as a bar hostess and leaves her kids for increasingly long periods of time. One day she says goodbye and gives Akira 50,000 yen (about 250 pounds), saying she will be back for Christmas. She never returns. Eventually Akira traces her to working for a company under a new family name. He realizes she has re-married and has abandoned them. Most of the film is devoted to charting how the kids respond to their plight. At first Akira tries heroically to be the father, shopping, cooking, cleaning, instigating rules and delegating responsibilities. But as the money runs out, the food disappears and the utilities get cut off, the children revert inwards to find their baser animal instincts. I won’t describe what happens thereafter as it would spoil it for you, but rest assured what happens is heart-breaking to the extreme.
If you have read this far, you might think Nobody Knows is an extremely depressing film. Fear not, for this film is no Lord of the Flies. By focusing on the positive qualities of the kids and their untapped potential for enjoying life and seizing the day with their unquenchable optimism, Kore-eda carves out a hugely positive celebration of the minutiae of everyday life which you and I take for granted. Never has an ice cream tasted so good and never has a simple trip to the local park been so liberating. At the same time the director focuses on what the kids need but cannot have to moving effect. Akira wants to go to school and craves friendship with his peers, and in the course of the film he achieves both albeit only in part. Then there is Kyoko who (because her father is a musician) wants to own and play her own piano, but has to make do with a plastic toy. As a father who sometimes has to force his kids to practice before their (very expensive!) piano lessons, my first reaction was to think about showing them this film to make them appreciate more the opportunities they have. Make no mistake this is one of those films which makes you feel lucky to be alive and lucky to be surrounded by your loved ones. In Hollywood hands it would be mired in mushy sentimentality, but Kore-eda’s stoicism and refusal to pander to the feel-good brigade pays off in spades. His approach is simple, subtle and profoundly revealing of the emotions that lay within the hearts of his young cast.
The film’s greatest achievement rests on the effortlessly superb acting of the kids. Kore-eda has a way with youngsters and here he teases out astonishing performances, especially Yagiri Yūya who deservedly took home the best actor prize from Cannes that year. It is perhaps mistaken to talk about ‘performances’ here as when we look at these kids we just believe they are who they are – there are no performances involved. They simply inhabit their roles with astonishing reality. Combined with Kore-eda’s documentary approach this makes for a film of extraordinarily tangible emotional power.
I was tempted to give 5 stars, but I have two slight criticisms. In the first place, at 140 minutes the film is a long haul which seems even longer because of the slow pace of the narrative. I have no problem with slow narratives, but as vital as the performances are and as sensitive as Kore-eda’s treatment is, there is simply not enough here to sustain the running time. Scenes become repetitive and one suspects a good 20 minutes could easily have been shorn without harming the film’s narrative structure. Secondly, I have a problem with the film’s ending. I can’t be specific here without giving the game away, but the whiff of artificial melodrama doesn’t sit with the natural treatment of everything that precedes it. I’m probably being a little harsh here, because on balance this is still a superior film that warrants close attention.
I have no gripes with the quality of this ICA Projects DVD. It is a bare-bones product with no extras at all, not even the booklet that some reviews posted here have suggested comes with it. However, the picture and sound are both top quality with English subtitles properly letter-boxed and highly legible. I notice that this film is also being offered in a cheap box set together with Still Walking, After Life (1998) and Air Doll (2009). That would be the best way to buy it as the other 3 films are all excellent. For those unsure about Kore-eda this cheap single disc release remains a highly recommendable taster.
Keris Nine
5つ星のうち5.0
Sensitive study of childhood
2010年1月28日に英国でレビュー済みAmazonで購入
Do you ever get tired of Hollywood films always trying to sell you something? When they're not trying to sell you actual goods through heavy product placement it seems like they're always trying to get you to buy into a lifestyle, into an American way of looking at the world - forcing you to be a consumer, even if it's just being a consumer of movies. Thankfully there's a lot of worthwhile cinema elsewhere in the world that has something more to say, and that's certainly the case with Kore-eda Hirokazu and his 2004 feature Nobody Knows, a film which makes a genuine and skilful attempt to make sense of the confusing world around us.
Inspired by a real-life story of a family of four children (the eldest only 14 years old) who have to cope for long periods for themselves when their mother takes off on extended trips, Kore-eda however makes the film about more than a documentary-like reconstruction of a curious case. Without unnecessary moralising or tabloid-style sensationalism, he tries to imagine how such a situation could be allowed to happen, makes it comprehensible and sympathetic. Finding neighbours intolerant of young children and landlords reluctant to rent apartments to families, the mother has been forced to pretend she doesn't have any young children, keeping them locked up and schooling them herself. The children - most of them being born out of wedlock and - as it becomes clear - to different fathers, essentially then become "invisible" as far as society is concerned.
This alone is a fascinating revelation and when combined with showing how the children cope with everyday life, it makes for an extraordinary film. But the director also does so much more than this, considering the psychological impact their confinement has on the children who have no recourse to a normal childhood through schooling and relationships with friends, getting into the minds of the four children and thereby raising interesting questions about what childhood means. The film achieves this wonderfully through some natural and engaging performances from the young leads, and the director's wonderful use of sunlight through the different seasons. A remarkable film.
The DVD from ICA Projects is basic - there's just the film and nothing else, but the image quality on the dual-layer disc is excellent, the presentation widescreen enhanced, with the original Japanese soundtrack in Dolby Digital stereo. Subtitles are large and unremovable. There are no extra features other than a booklet with a fine essay by the director on the film's origins, which is all you need really.
Inspired by a real-life story of a family of four children (the eldest only 14 years old) who have to cope for long periods for themselves when their mother takes off on extended trips, Kore-eda however makes the film about more than a documentary-like reconstruction of a curious case. Without unnecessary moralising or tabloid-style sensationalism, he tries to imagine how such a situation could be allowed to happen, makes it comprehensible and sympathetic. Finding neighbours intolerant of young children and landlords reluctant to rent apartments to families, the mother has been forced to pretend she doesn't have any young children, keeping them locked up and schooling them herself. The children - most of them being born out of wedlock and - as it becomes clear - to different fathers, essentially then become "invisible" as far as society is concerned.
This alone is a fascinating revelation and when combined with showing how the children cope with everyday life, it makes for an extraordinary film. But the director also does so much more than this, considering the psychological impact their confinement has on the children who have no recourse to a normal childhood through schooling and relationships with friends, getting into the minds of the four children and thereby raising interesting questions about what childhood means. The film achieves this wonderfully through some natural and engaging performances from the young leads, and the director's wonderful use of sunlight through the different seasons. A remarkable film.
The DVD from ICA Projects is basic - there's just the film and nothing else, but the image quality on the dual-layer disc is excellent, the presentation widescreen enhanced, with the original Japanese soundtrack in Dolby Digital stereo. Subtitles are large and unremovable. There are no extra features other than a booklet with a fine essay by the director on the film's origins, which is all you need really.
PlayerPianoPlayer
5つ星のうち5.0
Very moving and very real
2010年2月13日に英国でレビュー済みAmazonで購入
This film tells the story of four children holed up secretly in a flat, running out of money for groceries while they wait with brave and fading hope for the mother who has abandoned them to come home. How they find themselves in this situation, how they cope, and how they manage to fall beneath the radar of any agency that might have helped them are explained simply and beautifully, without any excess of intrusive arty flourishes or melodramatic overstatement. The result is both heartwarming and heartwrenching.
Buy it, see it, you won't regret it.
Five stars, without a doubt.
Buy it, see it, you won't regret it.
Five stars, without a doubt.
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